Namuth photographed many other painters such as Willem de Kooning, Robert Rauschenberg, and Mark Rothko and architects such as Frank Lloyd Wright, Philip Johnson, and Louis Kahn.

Besides famous art figures, Namuth photographed the Mam people of Todos Santos, whose native lifestyles were being overrun by Western influences.

[1] Namuth and Reisner were sent to cover the Workers' Olympiad in July 1936 by French magazine Vu, which put them in Barcelona during the opening stages of the Spanish Civil War.

[1] After being discharged in 1940, Namuth fled to Marseilles and escaped to the United States with the help of journalist Varian Fry and his Emergency Rescue Committee.

[2] However, he had fallen in love with French-born Guatemalan Carmen Herrera and delayed his enlistment until he was drafted for World War II in December 1943.

[2] After completing basic training, Namuth joined the intelligence services and worked as an interrogator and interpreter in England, France, and Czechoslovakia.

[2] Upon returning to Germany in 1945 to gather war criminals, Namuth realized, "I really had cut my navel cord completely and totally, not just with my home and family but with the country as such.

[2] With the conclusion of World War II, Namuth left the army, having been awarded the Purple Heart and Croix de Guerre.

[4] They "helped transform Pollock from a talented, cranky loner into the first media-driven superstar of American contemporary art, the jeans-clad, chain-smoking poster boy of abstract expressionism," according to acclaimed culture critic Ferdinand Protzman.

After coming in from the cold-weather shoot of the glass painting, Pollock, who had been treated in the 1930s for alcoholism,[7] poured himself a tumbler of bourbon whiskey after supposedly having been sober for two years.

[6] The popularity drawn from his work with Pollock helped Namuth gain access to other members of the abstract expressionist movement including Willem de Kooning and Mark Rothko.

[14] Namuth returned in 1978 to survey the damage of an earthquake and was shocked to find the native customs of the Mam threatened by influences such as alcoholism.

[15] Namuth published these black-and-white photos in his 1989 book, Los Todos Santeros, in an effort to catalog and preserve images of the town's population and customs.

[10] While Namuth was known to be a technically skilled photographer, his sociable and outgoing personality contributed largely to his notability in the New York art scene.

[5] Namuth was also persistent when persuading his subjects to agree to be photographed, including sculptor Joseph Cornell, who took two years to be convinced.

[12] However, critic Sarah Boxer suggests that it is difficult to view photos of such artists without considering the possibility that they were trying to gain fame in a manner similar to Pollock.

"[18] Namuth's photographs included objects related to his subjects, such as paint tubes, items from around their homes, and their works of art.